THANG TA is popular term for the ancient Manipuri
Martial Art known as HUYEN LALLONG. The art developed from the war
environment of the tiny state of Manipur in North-east India, which
was an independent kingdom since the early Christian era. It played
an important role in the geopolitical environment of medieval times
in between India and China with many independent states at war with
each other. Constant life and death struggles between clans, tribes
and states resulted in the devising of ways and means of
safeguarding the lives of the citizen soldiery and at the same time
developing an inward attitude to problems of life, death and
afterlife.

The art of the battle simultaneously envisioned a deep value system
or world view ensconced within the culture of the small ethnic
communities struggling for survival from constant attack from
hostile neighbours and also to sustain a social order based on
rank, status and kin affiliations of a collective kind. The
individual was always in deep relationship with the community using
ritual as a means of constant regenerative action in tune with the
movement of the spiritual world of ancestors beyond human life. The
world of man was an outward revelation of the inner life of the
natural world and the universe. Deep harmony between outer action
and inner forces resulted in the use of the body in various forms
of expression.

The art of the battle and the use of weaponry, when its warlike
engagements were over, developed into a system of wielding
objective elements in organic relationship with the cosmos. The
body itself became a space where the tensions and dynamics of
creation was worked out in a system of movements reflecting the
essence of these creative forces. The whole world of the dynamic
cosmos was recreated within the world of the body of man.

THANG TA (The art of sword and the spear) thus
became an expressive art form which however retained its fighting
character at the secret home schools of individual teachers or
Gurus, after being prohibited during the period of the colonial raj
(1891-1947). It survived during the period of Manipur’s
integration with the Indian Union in 1949, where the art was shown
in festivals and performance platforms abroad since 1976.
Unfortunately, the internal system of meditative practices and its
essential spiritual character is at risk of being lost through lack
of knowledge and committed practice by the present generation.
Contemporary theatre practitioners are gaining awareness of its
basic energy use and creative exercise of the body’s
resources which would enhance the performance energy of the artist.
It is at an exploratory stage that this new culture is being
re-examined.

The movement behaviour of the different parts of the Manipuri
martial body are derived from the cultural and habitual uses of
daily life. Certain extra-daily postures, positions. and
movements are compiled into codes adding to the natural
repertoire.

Physical Characteristics in Customary Usage and Ritual
Practice

1.Khurumba (the bow) - where the
forward/downward flexion of the relaxed spine is used.

2.Tha Leiba -Rotation and tilts of the pelvic
joint in different angles while supporting the torso in regular
curvilinear uses are most common. The half turn of the chest are
also common.

3. Thong khong (bridge support) - The squat is
also a familiar use of the lowering of the upper extremities nearer
to the ground, where the two legs in deep bent position support the
whole body, thereby proximally utilizing the use of the upper
extremities at the ground level. Men use three positions of squat
in a descending order to enable the firmer hold of the body in
pro-gravitational positions.

4. Wai teiba - a daily ritual of cleaning
the floor by women. Women use a different flexible squat system
with the bent knees opened out to enable the forward flexion of the
torso or spine. The hand uses the washcloth with more space at her
command while rubbing the floor. The entire system of body use are
rich and varied, and the wrists could be most appropriately
exploited in Khujeng Leibi (Wrist circling) to emulate the figure
of eight.

Thang(Art of the sword) emphasizes
Phidup (coil), lowering of one’s body near to the ground to
enable a spring action for expansion and attack.

TA(Spear) emphasizes PHANBA, an opening
out of the body with two forms, NONGPHAN to stimulate the expanse
of the sky, and the LEIPHAL emulating the expanse of the earth at
the ground level in order to reach out to all directions of space.
The spear uses about 75% of the lower extremities in motion, while
the wielding of the sword normally takes 75% exercise of the upper
extremities.

The martial system is a much more vigorous use of the body in order
to reach out to the space of the opponent, and the two arts are
derived from the physiographic and cultural environment of the
Manipur plains and the hills. The Meitei in the plains, the
pre-dominant ethnic group are capable of using both sword and spear
in its weapon system. The sword is most favourably used in
protecting the body from attack from all sides, whereby the figure
of eight is extensively used to cover the all vulnerable parts of
the body. The Meitei often use more movement than stillness while
preparing to fight the opponent, and the self as target is dynamic,
moving and shifting position often. There is also the use of
stillness while awaiting the attacking move of the opponent,
depending on the nature of the enemy.